Whereas in Central Europe the repertory of the second half of the 16th and in 17th centuries (manuscripts, prints, contrafacta, paraphrases and parodies) testifies to the great popularity of Italian, French and Netherlands music, the scope and mechanisms of the reception of foreign repertory in the 15th century are still not well known. Traces of such reception are present in sources connected with Central European universities (Vienna, Leipzig, Cracow). The analysis of three manuscripts from the late 15th century provides more information on the subject. This study is preceded by a preview of foreign repertory in Saxon-Silesian codices. After examining the general characteristics of Central-European contrafactum procedure, the attention is focused on French-language chansons, then Latin motets and Mass movements. In conclusion, several hypotheses on unica are proposed.